I fell in love with commerce and the opportunities that come with compelling visual storytelling.
As I had collaborated with visual artists before whether on installations, on performance pieces, in the context of theatre works and as I had taught for a time in art colleges the idea of writing music in response to painting was not alien.
The thing with computer-generated imagery is that it's an incredibly powerful tool for making better visual effects. But I believe in an absolute difference between animation and photography.
But audio is a component of video, so there's always been that anyway, and although we've never expressed a visual side apart from the Grateful Dead movie, I don't find it that remote, you know what I mean? It's a departure of sorts, but it's like a first cousin.
Boxing is my real passion. I can go to ballet, theatre, movies, or other sporting events... and nothing is like the fights to me. I'm excited by the visual beauty of it. A boxer can look so spectacular by doing a good job.
With the 'Boosh,' we were trying to do this strange, weird thing that had its own language and visual style, and it wasn't really what the powers that be wanted.
Drawing is not only a way to come up with pictures: drawing is a way to educate your eye to understand visual information, organizing it into a more hierarchical way, a more economical way. When you see something, if you draw often and frequently, you examine a room very differently.
Two things I'm obsessed with are the countryside and fields and being in the open space and body parts, so you'll hear me mentioning body parts and human anatomy. I've listened to my songs and I think I am quite visual and I talk about bones and flesh a lot.
I've been interested in art and fashion for as long as I can remember because they are so visual. I am fascinated by the idea of visual creation from the ground up, which is a challenge in ballet when the audience has seen every show of yours, every other principal that you've shared a role with, and every different production.
I'd have been a filmmaker or a cartoonist or something else which extended from the visual arts into the making of narratives if I hadn't been able to shift into fiction.
Words aren't very good at describing complicated, strange visual things. You can try, and the reader will have some sort of image in their mind, but words aren't good at that.
For me, a lot of my work has dealt with what it means to be at the center of the universe and how alienating and kind of seductive it is. A lot of my work is very aggressive and very visual, but at the same time, it has a lot of tension in it and makes you kind of uncomfortable sometimes.
I think the main influence has been living in New York City. Aside from all the crap around 9/11, I find it very demanding to think amid all the noise and visual pollution.
So I like to try to go back and develop pure visual storytelling. Because to me, it's one of the most exciting aspects of making movies and almost a lost art at this point.
The visual team of 'Blade Runner' - one of the last big fantasy movies to be made without much computer graphics finery - worked directly for Scott, who sketched each of his prolific ideas on paper (they were called 'Ridley-grams').
One does not contemplate it like a picture. The idea of contemplation disappears completely. Simply take note that it's a bottle rack, or that it's a bottle rack that has changed its destination... It's not the visual question of the readymade that counts; it's the fact that it exists, even.
For me, I'm very visually inspired. I'm more inspired by photographs and movies than I am by listening to other music, so for me to create an amazingly intense visual live show is a dream, so I would love to be on that level for sure.
Sometimes magnificent visual art takes root in the humblest of soils. Advertisements painted on old barns, tattoos, fruit crate labels, hot rod embellishments - all these media and many other non-galleried forms have hosted and fostered esthetic delights that satisfy any rigorous definition of art.
I don't think music is the first thing I turn to. For me, I think visual art is more the thing. Sometimes when I've been doing music for a while, I can't really take any more in.
I was always a visual artist my whole life, and I came to music really late - when I was 21 or 22 was the first time I ever touched a musical instrument. For me, it was always this fun side hobby.
I try to make songs visual and tactile to kind of put you into the action.
We are visual creatures. Visual things stay put, whereas sounds fade.
During a color consultation, I like to reference food as a visual. Hot fudge and orange marmalade paint a clearer picture and helps prevent end results that leave you feeling unsatisfied.
I am a hobbyist photographer so I relate to the visual arts that way, but I'm not a painter.
Everything for me is visual. That's just how my head works.
I was at art school that had quite a celebrated film course as well. I tried for that film course when I was 18, but they said I was too young. I tried this audio and visual design course instead. Two years later, I reapplied for that higher course, but they said I was still too young and to try in five years.
When I started, I knew I didn't fit any visual that anyone was going to lie down and take their clothes off about. Work doesn't come to me; I go out and look for it.
Each time you do a film you gain a lot of experience and build a visual resume where people get to know who you are.
Concrete poets continue to turn out beautiful things, but to me they're more visual than oral, and they almost really belong on the wall rather than in a book. I haven't the least idea of where poetry is going.
Visual representation of it is essential if we're to come to terms with what it is we've done.
My true function within a society which embraces all of us is to continue an age-old tradition. This tradition is to create images from the depths of the imagination and to give them form, whether visual, intellectual or musical.
Dialogue should simply be a sound among other sounds, just something that comes out of the mouths of people whose eyes tell the story in visual terms.
A visual image in the hand of an artist is merely a tool to trigger a mental image.
With 'Wagon Wheel,' I loved the visual it painted, and it's a song I can truly say I look forward to performing every night.
But being quiet and meditating on sound is something completely different and will be discovered very soon by a lot of people who feel that the visual world doesn't reach their soul anymore.
I was a visual artist primarily and a writer, even from a very young age.
